In the past year local artist Jon Routson has received the sort of press attention for which some artists would kill. His works have triggered intriguing discussion in TheNew Yorker, TheNew York Times, TheVillage Voice, Film Comment, and this paper, and if the praise reads a bit conflicted itís because his work raises such curious authorship issues in an art marketplace in which creativity is copyright protected. Routson makes movie bootlegs, sneaking his mini digital-video camera into multiplex theaters, pointing them at the screen, pressing record, and then projecting the skewed, low-grade results against his representative Team Galleryís walls in Chelsea. His Recordings II spring show included three separate bootlegs of The Passion of the Christ projected as a triptych that slyly demystified the controversial patina enveloping seeing the movie and focused, nonjudgmentally, on what and how Passion tells its story. Routson himself isnít sure where, if anywhere, this work is leading him, but weíd like to tip our hat to a blithe mind unafraid of the Digital Millennium Copyright Act of 1998.